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بمشاممند میمالنا
14 UMTIMONI
NOVELLO, EWER AND CO.'S MUSIC PRIMERS.
EDITED BY DR. STAINER.
A DICTIONARY
MUSICAL TERMS,
BY
DR. STAINER & W. A. BARRETT.
- (Compressed from the Imperial 8vo Edition by K. M. ROSS.)
ONE SHILLING; PAPER BOARDS, 15. 6D.
OPINIONS OF THE PRESS. .
"A careful and judicious abridgment of the larger work, and will be found i
useful to those by whom the original is inaccessible.”-Atheneum.
"A most serviceable abridgment of Stainer and Barrett's well-known Dic-
tionary. Few, if any, words that the student can wish explained are absent
froin this little volume, which should be in every amateur's library.”—Daily
Telegraph.
“Of even more general utility is Musical Terms. As a dictionary of re-
ference this little volume should be on the table or shelf of every musician.”-
Graplic.
"Most of the special information contained in the large volume has b. n re-
produced in this shilling pamphlet, the compression having been judicio era Pys
made by Mr. K. M. Ross.”-Illustrated London News.
"In its condensed form the work contains a mass of information which is
rarely to be met with in books of the class. It is particularly copious in German
terms, which are now becoming of nearly as much use as the Italian."-British
Λαil.
“ The musical learner will find much useful information on the principles of
music and on many technicalities of the art only to be found in high-priced
productions.”—Perthshire Advertiser.
"No individual with any pretensions to a musical taste should be without this
excellent book of reference.”—Perth Citizen.
“An important addition is made to Messrs. Novello's series of Music Primers'
in the shape of an abridgment, or rather compression, of Messrs. Stainer and
Barrett's well-known Dictionary of Musical Terms. That work has ranked as
a standard one ever since its publication, and Mr. K. M. Ross, who has performed
the task of reducing it to the slim dimensions of its 'primer' form, has executed
the business with evident care and intelligence. For its dimensions, this little, -
book is unquestionably the best dictionary of musical terms in our language."-
The Scotsinan.
• The issue of this abridgment of Messrs. Stainer and Barrett's dictionary
was a decidedly' happy thought. Many amateurs cannot well afford the price
of the complete work, while many others find its varied contents, if not super-
fluous in themselves, an embarras des richesses as part of a book of reference for
words in common use. The present issue exactly meets the wants of the many.
Its pages are crowded with succinct definitions of musical terminology, hardly a
word being omitted. ..... No other work of the kind conveys so much
accurate information within the same compass. The little book is the best
shilling's worth in all musical literature."--The Musical Times. -
LONDON; NOVELLO, EWER AND CO.
SIXTH THOUSAND..
NOVELLO, EWER AND CO.'S MUSIC PRİMERS.
Edited by DR. STAINER.
4095-52
THE SOL-FA SYSTEM
OF TEACHING SINGING'
AS USED IN
LANCASHIRE AND YORKSHIRE
BY
JAMES GREENWOOD.
PRICE ONE SHILLING..
In paper boards, One Shilling and Sixpence.
LONDON: NOVELLO, EWER AND CO.,
I, BERNERS STREET (W.), AND 80 & 81, QUEEN STREET (E.C.)
BOSTON, NEW YORK; AND PHILADELPHIA:
DITSON AND CO.
SONS,
*** Hosominaispit
NOVELLO, EWER AND CO.,
TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS,
I, BERNERS STREET, LONDON (w.)
Transfer
to
.
mita's
11-9-64
AUTHOR'S PRÈFACE.
In bringing this little book to the notice of the
Public, I am complying with a wish that has
been expressed to me by many professional and
other musical friends who have witnessed the
good results produced by the Lancashire and
Yorkshire system of Sol-fa. Being convinced of
its superiority over all other systems, I earnestly
recommend an investigation of its merits.
JAMES GREENWOOD.
.BRISTOL, September 25, 1879.
37.
reeber os a-10-37
PREFACE.
In re-issuing the Lancashire Sol-fa Primer, it seems to me
advisable to say a few words in answer to the criticisms which
were made upon it on its first appearance. First, as to the
name given to the system. The reason for its being called
“ Lancashire" Sol-fa is that it has been handed down from genera-,
tion to generation orally in that county. It would no doubt
have been right to have called it the "Old English,” considering
that it was the system taught by Thomas Morley and Henry
Purcell, men whose works shed a lustre on the times in which
they lived, and whose names adorn the brightest pages of
England's musical history. But from the fact of its having been
used in Lancashire principally, and to such good purpose that
those who used it earned for themselves the honourable desig-
nation of “The Lancashire Sight-singers," I think it will be
admitted that the title “ Lancashire Sol-fa” is not wholly
inappropriate.
In answer to the observation that the exercises given in the
former edition were all in unison, I have only to say that my
intention was but to show the leading principles of the system,
and to give exercises the practice of which would enable pupils
to apply those principles; but I am glad to be able to say that a
Primer containing two-part exercises only, and capable of being
used in conjunction with any system of Sol-fa, will shortly be
issued. With the view, however, of making this edition of the
Lancashire Sol-fa Primer as complete as possible, I have
inserted a couple of two-part exercises* as examples of the appli-
cation of the Sol-fa syllables to modulation, believing that a
candid examination of the same will prove the “ Lancashire " to
. be more simple, more flexible, and more consistent than any
system which uses seven names for diatonic purposes, in forget-
fulness of the fact that there are six notes which may belong to
either of two keys.
One reviewer of the Primer wrote as follows:-“ Any system
not possessing a separate and distinct name for the different
sounds of the notes in scale, and that name always the same
one, whatever the key may be, is not likely to be very successful."
This means, that as there are seven distinct notes in the diatonic
scale, it is necessary, in the reviewer's opinion, to use seven
distinct names. I grant that this opinion is held by many
persons, and that at first sight it seems well founded; but I
know from experience that it is no more correct than would be
the assertion that, because there are seven notes in the scale of
* Pages 75-78.
PREFACE.
C major, it is necessary that a person who wishes to play those
seven notes on a pianoforte should have seven fingers on his
right hand. Let anyone commence playing on the pianoforte
the scale of C major (ascending) with his right hand. The note
C will be played with the thumb, D with the first finger, and E
with the second, after which the thumb will pass under the hand
and play F, the first finger G, and the second A; the third finger
not being used until the seventh note of the scale is required.
So it is, analogically, with our system of Sol-fa. Fa takes the
first, Sol the second, and La the third ; then Fa, Sol, and La are
applied to the foạrth, fifth, and sixth notes respectively—the Me
not being used until the seventh note of the scale is used. It
will be seen that the distances between Fa and Sol, and Sol
and La, are always the same that is, whole tones ; and that the
semitones are always between La (third) and Fa (fourth), and
Me (seventh) and Fa (eighth) whatever the key may be.
Fingering.
X
x|
4
F 2 x
1 2 3
-ooooo
semitone.
6
semitone.
5,
la
Now this is not only a perfectly intelligible and sound system of
Sol-fa, but it is also more easily adapted to the major diatonic
scale than any other system; because the learner can more easily
remember that in ascending the scale he must say twice Fa, Sol,
La, and in descending, twice La, Sol, Fa, than he can remember
Do, Re, Me, Fa, Sol and La, both forwards and backwards.
Other objectors to our system say, “ How do you distinguish
between one Fa and the other in any given scale?” We answer,
“ As we profess to sing at sight, we distinguish, in the key of C
major; for instance, between the first leger line below and the
first space on the staff;” and we add that “Anyone who is incap-
able of drawing that distinction can never learn to sing at sight.
from the staff notation, either with or without any system of
Sol-fa."
But the adaptability of our system to any given major scale is
its smallest recommendation. We say that by its means we can
impart a practical knowledge of modulations much more easily
than we could by the use of a system having seven syllables. In
teaching the major scales, and modulations from one major key
to another, we have only to lay down the principle that, when-
ever the note above La is to be a whole tone above it, it must be
called “ Me," and when a semitone “ Fa”; and in a very short
time modulation throughout all the major keys, whether with
sharps or flats for signatures, becomes quite easy to the pupils.
This is the way with the sharp keys :-
PREFACE.
Vij
Example 1.
C major.. G major.
E
G major.
D major. D major.
A major.
o
tone #22-a
M
Fa sol la me fa
A major.
fa sol la
D major.
tone
me fa fa sol la me fa
G major. C major.
#t
s
hom20-2Hee
fa, sol la
me få
Fa sol la fa sol la fa sol la fa sol la
This is the way with the flat keys :-
Example 2.
C major. . F major. BD major.
Eb major.
orazones en
Fa sol la fa, sol la fa sol la
Eb major. B) major. . . .
fa sol la fa sol la
F major. . . .
me fa
C major.
tone toke
n
.come gegen
107b
tonetom
fa sol la me fa
Fa solla
me fa
fa sol la
me fa
It will be seen from Example I that the notes C, D and E
which form the first, second and third notes of the scale of C
major, form also the fourth, fifth and sixth notes, of G major, the
F deciding the key: also that the first three notes of the scale
of G niajor form the fourth, fifth and sixth notes of D major,
&c., &c. From Example 2 it will be seen that the fourth, fifth
and sixth notes of the scale of C major are the same as the first,
second and third of the scale of F major, the B b deciding the
key. Similarly, the fourth, fifth and sixth notes of F major are
the same as the first, second and third notes of B b major, the
Eb deciding the key; and it will be observed that the syllables:
as applied in the Lancashire system are in entire agreement with
these important facts. Careful consideration will prove the
impossibility of adapting a system of seven distinct names to the
notes of the above examples without a sacrifice of consistency.
Further, the fact of the Fa, Sol, and La being repeated in the
scale not only gives us these facilities for teaching the changes of
key, and establishing in the pupils' minds the positions of the
semitones, &c., in the keys through which we pass; but it also
enables us to teach easily all the different notes of the chromatic
scale, ascending and descending, from any starting-point. It
will be seen by reference to the following example that for this
purpose we only use ten syllables. Any enquirer may ascertain
how many are required to teach the same by other systems.
PREFACE.
Chromatic scale, ascending and descending.
-
Fa "fe
sol se
la
fa
fe
sol se
la
le
me fa
Fa me mo la lo sel so fa la lo sad sofa
Some critics have expressed the opinion that the system is un-
suitable-in practice. The following account of the performances
of twenty-eight boys from a school in Bristol, at an exposition
given by myself some time ago, will, I hope, be a sufficient
answer to this objection.
J. G.
Bristol, February 16, 1883.
“ NARRATIVE OF Facts.-One of the boys wrote on the blackboard the
changes of key from C to C flat major, and another wrote the changes back to
the original key. The twenty-eight boys then sang the exercise, and when the
keynote was sounded at the finish it was found that they were just a trifle sharp.
I then asked another boy to write the changes of key from C to C sharp major,
and one of his schoolmates wrote the changes of key back to C major. The
twenty-eight boys, after being cautioned to be less excited, sang through the
different keys to and from C sharp major; and when I sounded C on the piano-
forte it was a perfect unison with the note on which they ended. I wrote
exercises in three-four and common time, and in different major and minor
keys, introducing the intervals of major sevenths, diminished sevenths, minor
sevenths, augmented fourths, augmented seconds, &c., all of which were sung
at first sight correctly, both as to time and tune. 'I wrote the chromatic scale
with C as the tonic (ascending and descending) giving the note C to start from;
and, after singing the scale (ascending and descending), the boys ended in
perfect tune. This was done three times with the same result. I then wrote
the chromatic scale (ascending and descending), commencing on E, which the
boys sang with the same result of ending in perfect tune with the instrument
from which the pitch was taken.
"I invited any gentleman in the room to write on the black board a figured
bass. Mr. Cayzer (head-master of Queen Elizabeth's Hospital) wrote a figured
bass in G major. A boy, fifteen years of age, harmonised it in four
parts, and the boys sang the four parts (bass, tenor, alto, and treble)
in correct time and tune at first sight. (I may here mention that three of the
youths had only recently lost their boys' voices, but so good was their know-
ledge of the relationship of the different clefs, that both tenor and bass parts
were sung firmly in tune in this exercise and in the choruses named below.
This exercise was unaccompanied. I accompanied the choruses on a pianoforte.
Of alto and treble of course we had abundance.) My youthful choir then sang
with precision of attack, and in good tune, 'We never will bow down,'. We
worship God,' and 'O Father, Whose almighty power'( Judas'), They loathed
to drink of the river' (' Israel in Egypt'), and Hallelujah' ( Messiah). .
" It is certified that the above is an unexaggerated narrative of facts by
“C. E. HEY (Precentor of Bristol),
“Geo. RISELEY (Organist, Bristol Cathedral),
"J. BARRETT (Organist, Christ Church, Clifton, and In-
structor of Class-singing at High School for Girls),
WD. W. ROOTHAM (Conductor, Bristol Madrigal
Society, and Chorusmaster, Festival Choir),
* Hy. FRANCE (Lay Clerk, Bristol Cathedral)."
TREBLE AND TENOR.
THERE are two kinds of scales, viz., Diatonic and Chromatic.
Scales which are composed of tones and semitones are diatonic.
Diatonic scales are of two kinds, Major and Minor.
Scales which contain only semitones are chromatic.
A Semitone is the difference in pitch between any note and the
next step to it in the chromatic scale.
A Tone consists of two semitones.
Facility in singing all the scales is most easily obtained by the
practice of sol-faing.
Sol-faing means using a distinguishing name to each note sung.
The relationship of the sol-fa syllables to each other is always
the same, whatever the key may be.
The major diatonic scale has semitones between the third and
fourth and seventh and eighth notes reckoning upwards ; all the
other five intervals being tones.
The five lines and the spaces between them form the staff:
Lines temporarily made above or below the staff are called
leger lines.
When the G or Treble Clef is written on the second line of
the staff, reckoning upwards, the second line takes the name of the
seventh letter of the alphabet, G, and the other lines and spaces
are known by the first six letters.
G a b c d e f
-o
When the For Bass Clef ©: is written on the fourth line of
the staff, thus, the lines and spaces are named as
follows:-
& a b c d e
LL
1
1
1
1
е
d
с
ъ
a
g
THE LANCASHIRE AND YORKSHIRE
The note on which a diatonic scale is constructed is called the
'key-note or tonic.
The major, minor, or chromatic scales may commence on any
line or space.
The scale of C major is written thus, with the treble clef:-
-3-
--
Tonic, or
key note...
ook
d
e
f
g
a
b
c
and as follows with the bass or F clef:-
Tonic, o
key note...
or
3-
c
d
e
f
g
a
b
c
The lines between E and F, and B and C indicate semitones.
The pupils are recommended to practise the notes of this
scale ascending, with the sol-fa'syllables under them, reading
from left to right, say a hundred times. Fa and la to be
pronounced fah and lah.
4
Fa
sol
la
fa
sol
la
me
fa.
After which they may sing the scale descending, as follows :-
1. 8
7
ooo
Fa
'me
la
sol
fa
la
sol
fa.
When the pupils have well practised the above, they may be
tested in singing the notes in the following order :-
-
-oao-
Fa sol fa la fa fa fa sol fa la fa me fa fa.
If they are at all uncertain of singing any interval in the
above, the pupils must not be allowed to go a step further until
SYSTEM OF SOL-FA.
the uncertainty has been removed. This can be effected by
getting them to practise singing the intermediate notes with
their names, for instance :-
Pa
sol
la
sol
la
fa
fa sol la
fasol
fa
sol la fa sol la
fa
sol la fa sol la me
fa sol- la fa sol la me fa.
This difficulty having been surmounted, the following will be
less difficult :-
.
Fa
me
fa me la
fa me
la
sol
fa
me
la
sol fa
1
fa me la sol fa la
fa me la sol fa la sol
fa me la sol fa la sol. fa..
The pupils must master all these intervals before they go
further. Nor must they suppose that the use of fa, sol, and la,
twice in the scale, is an accidental circumstance. They will,
as they advance, find out for themselves more than one good
argument for such an arrangement. The following exercises
may be used as tests in singing intervals in the key of C
major, but on no account should the pupils guess at the intervals.
They inust learn them by the process named above.
04
Me
When the intervals have been accurately sung by the pupils,
the master may direct their attention to the Time-table, which
appears at p. 27, and the exercises in time on page 28.
Let the teacher now sound the note C, and let his pupils find
out for themselves without the slightest assistance, the following
THE LANCASHIRE AND YORKSHIRE
tune; of course taking care that they give a sol-fa syllable to
each note :-
-
Then the following:-
fool sooooooooo
sol
la
(For further Exercises in the key of C major, see p. 30.) .
Having mastered the above, and a few other exercises in the
key of C major, the pupils may, at the discretion of their in-
structor, be led to the use of such accidental sharps as occur on
fa and sol, calling a sharp fa, fe, and a sharp sol, se;, the teacher
explaining the effect of the sharp in each instance. Thus :—
1
Fa sol
la "se
la
fa
sol fe
sol la
se la
me fa
me la
solfe
sol fa
la
se
la sol "fe
sol 'fa me fa.
SYSTEM OF SOL-FA.
It will be advisable now to show how to change the key from
C major to F major. To do this we must flatten the seventh note
of a given key to make it the fourth note of another key. Pupils to
repeat the words in italics twenty times. The effect of this flat
is to make the distance from A to the note above it a semitone
instead of a tone, as it was in the key of C;-
C major.
F.major.
--2-
mtooo
ooove o
Fa
sol
la
fa
sol
la
FA
LA
SOL
FA.
It will be noticed that the first six syllables in the foregoing
example belong to the key of C major; but the moment the Bb
is introduced, the key is changed to F. Now in sol-faing in the
previous key, the fourth note of the scale was called fa; and to
be consistent we must now call the BD fa.
When the scale of F major is to be used, the Bb must be
written at the commencement of the staff. When it is so
written, it is called the Key-signature:- :
F major.
G11
3
Fa
sol
la
fa
sol
la
me
fa.
It will be observed that the relationship of the syllables to each
other is the same as in the previous key, the semitones falling
- 3rd 4th
7th
between la and fa, and me and fa.
Students are recommended to find out for themselves all the
intervals in the following exercise, giving to each note its dis-
tinguishing name, in its relationship to the key of F major :-
Having found out all the intervals in the foregoing, the pupils'
THE LANCASHIRE AND YORKSHIRE
experience will enable them to sing the following at sight, and in
regular time :-
Fa sol la sol la
fa
sol fa
la
sol la
fa
sol la
sol fa
1
11
1
e
la
sol
fa
sol
la
fa
sol
la
sol la
sol fa
la.
Fa sol la sol fa me la sol la me fa sol la sol fa me
la sol fa sol la me fa me la sol la me 'fa.
(For Exercises in F major, see p. 35.)
We will now change the key from F major to Bb major. We
must flatten the seventh note of the given key to make it the fourth
note of another key. The seventh note of the key of F is E:-
.
-3
-
2
-
--
1-
F major.
BD major.
coe
oo
ora
o
5 - 6 I
Fa sol la fa sol la FA LA SOL FA.
The first six syllables in this example are in the key of F
major; but when we meet with the Eb, the key is changed to
BD major; the Eb being the fourth note of the key. The key of
BD major will require a signature of two flats, thus:-
BO major.
1
Fa sol
Exercise in Bb major.
la
fa
sol
la
me fa.

-
Fa sol
la
sol la fa
sol fa
la
sol
fa
sol
la
fa
sol fa
la
sol
fa.
sol la me fa sol la sol fa me la
(For Exercises in B major, see p. 41.)
SYSTEM OF SOL-FA.
We now flatten the seventh note of the key of BD major, in order
to change to the key of Eb major.
BD major.
ED major.
.
1
11
Fa
sol
la
fa
sol
la
FA
LA' SOL FA.
The signature for Eb major will be three flats, namely, Bb,
E5, and Ab, and must be written in that order. The semitones
will be between G and Ah, and D and Eb
la
fa'
me
fa
Eb major.
OUT
1T
Fa
sol
la
fa
sol
la
me
Exercise in Eb major,
Fa me fa
sol la
fa
la fa sol
fa sol la
sol la me
fa me la me la sol
la
sol fa
sol fa
la
fa la sol
fa.
(For Exercises in Eh major, see p. 48.)
The next change of key will be from Eb major to A major, by
flattening the D, which is the seventh note of Eb major :-
Eb major.
Ab major.
700
-
2-
5a
Fa sol la fa sol la FA LA SOL PA.
The signature will now be four flats, Bb, E!, Ab, and Db, and
the semitones will be between C and D9, and G and Å) :-
fame fa
3
la
1.22
o
re
Fa
sol
la
fa
sol
la
me
fa.
THE LANCASHIRE AND YORKSHIRE
Exercise in Ab major.
Fa
sol la
sol
la
fa
la
sol fa
me la sol la
me
fa
sol la
fa
la
fa
sol
fa
la
sol
fa.
(For Exercises in Ab major, see p. 51.)
We will now change the key to DD major. This will be done
by flattening the G, the seventh note of the key of Ab major :-
Db major
A D major.
anonooooo
2 3 4 5 6
sol la fa sol la FA
11
Ha
LA
SOL
FA.
The signature is now five flats, Bb, Eb, AD, Db, and G). The
semitones are between F and b, and C and Db :-
3rd
semitones are between |
la
fa
me
Db major.
la
fa
sol
la
me
fa.
. Fa sol
Exercise in Db major.
Fa sol
la
sol la
fa
sol
la
me fa me la
sol
fa
la
sol
la
fa
sol
la me
fa
sol
(For Exercises in Db major, see p. 54.)
Change to Gb major :-
ene
Db major.
Gb major.
ooooo
o
3 4 5 6 4 3 2
Fa sol la · fa sol la FA LA SOL
an
T
FA.
SYSTEM OF SOL-FA.
The signature now is six flats, and the semitones are between
3rd 4th 7th 8th
Bb and Cb, and F and GD :-
la fa m e fai
G major.
Doo
1
la
fa
sol
la
me 'fa.
Fa sol
Exercise in Gb major.
Fa
me fa
sol
la
fa
la
fa sol
la
sol
fa la sol la sol fa sol fa me fa.
(For Exercises in Gb major, see p. 56.)
The next change is from Gb major to Cb major, by flat-
tening F:-
Gb major.
Cb major.
oooo
The signature, therefore, for Cb major, is seven flats, and the
semitones are between E and fb, and By and Ch :-
8th
es a
fa
cb major.
oo
sol
la
fa
sol la
me
fa
Fa
Exercise in Cb major.
och
Fa sol la sol fa
sol la fa
sol fa la
fa sol la me
fa
sol la
sol fa me la sol la sol fa
la
fa
la
sol
fa.
(For Exercises in Ch major, see p. 57.)
We will now briefly make the changes of key, back from Cho
major, to the key which was first introduced to the pupils' notice,
IO
THE LANCASHIRE AND YORKSHIRE
viz., C major. The process will.of course be exactly opposite to
the one by which we arrived at Cb major. If we take the flat off
the fourth note of one key, it will become the seventh note of
another key. Let the pupils repeat the words in italics'twenty
times.
We begin with a signature of seven flats, the semitones being
between El and F
me
cb major.
3rd
zth
8th
between Ét and f', and Band ©* :-
), and
BD and
la
fa
-
Fa sol la fa sol la me fa.
We take the flat, off the fourth note of the scale of Cb by
placing a natural 4 before the note, thus :- .
cb major.
Gb major.
8
fa.
Fa
sol
la
ME
Now as the Fb is the seventh note of the new key, the Gb
above it is the new key-note; hence we call the F5 me, and
the Gb fa.
The flats in the signature are reduced to six :-
Gb major.
Fa sol la fa sol la mé fa.
We will now go straight through the changes of key till we
get to the key of C major, merely remarking, that the note on
which the natural comes, will be in each case the leading-note,
or as 'some call it, the sensible note :-
Gb major. Db major.
-
Db major.
P3-4-
1
V
य
010111
1
1
12 378
Fa sol la ME fa.
Fa sol la
fa sol la me fa.
Do major. Ab. major.
Ab major. 3
icdilo
1 2 3 78
Ta
Fa sol la
ME fa.
Fa sol la
fa sol la me fa.
SYSTEM OF SOL-PA.
II
Ab major.
Eb major.
Eb major.
VOD
1
1
-
13-
Fa sol la ME fa.
Fa sol la
fa
sol la me fa.
ED major.
B) major.
Bb major,
Fa sol
la
Me fa.
Fa sol la
fa
sol la me fa.
BD major.
F major.
F major.
3-
4
1
2
3
Fa
sol
la
ME
Fa sol la
fa
sol la me fa.
F major.
C major.
C major.
A
3-4-aas
1
2
3
Fa
sol
la
ME
fa.
Fa sol la
fa sol
la me fa.
Having arrived at the end of our journey through the major
keys which have signatures consisting of flats, we will now start
out in search of what are commonly called the Sharp Keys. The
journey back from the key of Cb major to the key of C major will
in some measure have prepared the minds of the pupils for what
follows. The flats being all taken away, we shall, by placing a
sharp on the fourth note of a key, make it the seventh note of
another key. Pupils to repeat the words in italics twenty times.
C major.
G major.
Fa
sol
la
ME
fa.
.
8th
In the key of G major, therefore, F# will be the signature; and
the semitones will be between B and C, and F# and G.
lafa'am
G major.
Fa
sol
la
fa
sol
la
me
fa.
12
THE LANCASHIRE AND YORKSHIRE
Exercise in G major.
31
Fa
sol la
fa
sol
la
sol
fa
la
sol
fa me
i fa me la sol la me fa sol la fa.
(For Exercises in G major see p. 58.) .
From the key of G major, we go to the key of D major by the
same process of placing a sharp on the fourth note of the key
from which we wish to change, thus:-
1
Fa
2
sol
3
la
ME · fa.
The signature will now be two sharps, viz., F# and C#, and the
semitones will be between F# and
3rd
8th
la
me
D major.
1
la
fa
sol
la
mefa.
Fa sol
Exercise in D major.
1
17
110
Fa
sol
la
sol
la
fa
sol
la me
fa
me fa
me
la
sol
fa la
fa
la sol
fa.
(For Exercises in D major see p. 62.)
We now change the key from D major to A major, by placing
a sharp on G:-
D major.
A major.
El
#
Fa
sol
la
ME
fa.
SYSTEM OF SOL-FA.
'IŽ
The signature for A major will be three sharps, F#, C#, and G*;
and the semitones will be between
G# and A:-
3rd
7th
"
'8th
me
fa
A major.
*
ST
la
fa
sol
la
me
fa.
Fa sol
Exercise. in A major.
Fa
sol
la
sol la
fa
la
sol
la
sol
me la
sol la
me
fa
sol
la
fa
la
fa
sol
(For Exercises in A major see p. 65.)
The next change is from A major to E major, which is brought
about by placing a sharp on D:-
A major.
E major.
*
#
Tao
Fa sol la ME fa.
The signature will now be four sharps, F#, C#, G#,
and the semitones will be between &# and A, and D and E :-
E major.
een
Gw
sol
la
fa
fa
Exercise in E major.
sol
la
me
fa.
Fa sol la fa
sol la sol
la me fa me la sol fa la
fa la sol la sol fa me fa sol la fa sol la me fa.
(For Exercises in E major see p. 67.)
We will now go from the key of E major to that of B major.
As A is the fourth note of the scale of E major, we must make
14
THE LANCASHIRE AND YORKSHIRE
it the seventh note of the key we want, by placing a sharp before
it:-
E major.
s
B major.
78
3-
-
2-
a
solº la
ME
fa.
The signature for B major will be five sharps, F#, C#, G#,
D#, and A#; and the semitones will be between D# and E, and
A and B –
mē
.
B major.
'
ajor.
o
o
Fa
sol
la
fa
sol
la
me
fa
.
.
Exercise in B major.
Fa me ta
sol
la fa
la
sol fa me fa
me la
sol
fa
la
fa
la sol
la
fa
sol
fa
la
sol
fa.
(For Exercises in B major see p. 69.)
The key of F# major will require a signature of six sharps, E#
being the last sharp :-
B major.
F# major.
The semitones will be between 6 and 8and B) and 13–
ween
me
F# major.
#
Fa
sol
la
fa
sol
la
me
SYSTEM OF SOL-FA.
Exercise in F# major.
Ha
2
me fa
sol
la fa
sol
la me fa me la
•
sol
fa
la
fa
'la
sol
la
sol
f a.
(For Exercises in F# major see p. 72.)
The next key into which we shall modulate will be C# major.
We shall get to it by placing a sharp on the fourth note of F#
; major, namely B :-

F# major.
c# major.
#
I
Fa som lå med få
The signature for C# major will consist of seven sharps, F#,
· C#, G#, D#, A#, E#, and B. The semitones will be between
É # and F#, and B$ and
4th
7th
me
c# major.
YOO
Fa
sol
la
fa
sol
la
me fa.
Exercise in c# major.
-
ER
-
Fa
sol la
fa
sol la
me
fa sol fa sol la sol
fa
me la
sol la sol fa
fa
fa
la
sol
fa.
(For Exercises in C# major see p. 73.)
We will now modulate from the key of C# major to the key of
C major, by gradually taking away all the sharps. This will be
done by substituting a natural (1) for the last sharp of the
signature in each key that we come to, and instead of calling
the seventh note me, as we should have done had the sharp
16
THE LANCASHIRE AND YORKSHIRE
c# major.
*
F# major.
F# major.
:
2
sol
4
fa
5
sol
6
la
4
FA
3
LA
la
2
SOL
1
FA.
Fa
sol
la
fa
sol
la me
fa.
F# major.
*
B major,
B major.
ooooo
toare
4-
O o oooo.
2
sol
3
la
4
fa
5
sol
6
la
4
FA
3 2 1
LA SOL FA.
Fa
sol
la
fa
sol
la me
fa.
fourth note of the key we want:-
remained, calling it fa, because it will in each case become the
B major.
*
Ę major.
E major.
a
5
6
4
3
2
Fa
2
sol
3
la
4
fa
sol
la
FA
LA
SOL FA.
Fa
sol
la
fa
sol la me
fa.
E major.
*
A major.
A mai
#_#
A major. 3
I FEE
TH
#
#
9
Fa
#
1
Fa
#
4
CO
1
Fa
2
sol
3 4
la · fa
5
sol
6
la
4
FA
3 2 1
LA· SOL FA.
Fa
sol
la
fa
sol la
me
fa.
SYSTEM'OF SOL-FA.
|_ A major. __otte
D major._
र एक
#_D major
oo
-1-
Fa
2-
sol
3-
la
4-
fa
5--
sol
-
la
4-
FA
3- 2-- -
LA SOL FA.
Fa
sol
la
fa
sol
la me
fa.
G major.
ed
11
It will be of use to name the different intervals more parti-
D major.
G major.
ao o te
oo
3 4 5 6 4 3 2 1
"
la fa sol la FA LA SOL FA.
1
Fa
0
2
sol
Fa sol
la
fa
sol
la me
fa.
-
C major.
-
de-
___
----4--
G major. _ooooo
ooo!
1
Fa
2
sol
3
la
4
fa
5
sol
6
la
4
FA
3 2 1
LA SOL FA.
Fa
sol
la
fa
sol
la me
fa.
THE LANCASHIRE AND YORKSHIRE
cularly than we have hitherto done. A given note is called the
unison, the note above it a second, and so on, as follows:--
1
Given ote d I am
noi
The different degrees of the diatonic scale are also named as
follows, reckoning upwards :- Tonic (or key-note), supertonic,
mediant, sub-dominant, dominant, sub-mediant, leading-note,
tonic.

TABLE OF INTERVALS.
This column shows.
the Sol-fa syllables
used in ascending
the chromatic scale
from the Tonic C.
(To be read
upwards.)
(This part of the table to be read:
' upwards.)
This column shows
the Sol-fa syllables
used in descending
the chromatic scale
from the Tonic C..
(To be read
downwards.)
8
7
.
Fa
Me
Mo
8
7
.
6
6
.
.
La:
Lo
. .
Sol
. .
5
5
.
.
So
O
Fa
C to C is a perfect octave . . . . .
Me B C to B is a major 7th . . . . .
B
. . . . . C to Bb is a minor 7th ......
.
Bb
Le A C to A# is an augmented 6th. ...
La A C to A is a major 6th ......A
. . C to Ab is a minor 6th ......! | AD
Se G# C to G is an augmented 5th. . . . . .
Sol G C to G is a perfect 5th ......G
. . . . C to Go is an imperfect (or dim.) 5th. .
C to F# is an augmented 4th. .....
Fa
C to F is a perfect 4th ......F
La E C to E is a major 3rd ..... HE
C to ED is a minor 3rd ......
Se
C to D# is an augmented and ...
Sol Dº C to D is a major 2nd . . . . . . D
· ·
C to Do is a minor 2nd. .....
Fe C to C# is an augmented unison. ..
Fa C C is the unison. .. . c
O
4
Fa
3
La
3
Lo
.
. .
Sol
2
2
·
·
Fa
I
The difference between the sharp fa (fe) ascending, and the
SYSTEM OF SOL-FA.
19
flat sol (so) descending constitutes an enharmonic change; and
so with the other respective chromatic intervals.*
Chromatic Scale with C as the Tonic..
U
peu sol
se
la
fa
"fe
sol
se
la
le me
fa me mo la lo sol so fa la lo sol so fa.
When it is desired to lower by one semitone the pitch of a note
which by the key-signature has already been made flat, a double
flat bb is used.
When it is desired to raise by one semitone the pitch of a note
which has a double flat before it, a natural and a flat are used,
thus: 40.
sollo sol la
When it is desired to raise by one semitone the pitch of a note
which by the key signature has already been made sharp, a double
sharp x is used.
When it is desired to lower by one semitone the pitch of a note
which has a double sharp before it, a natural and a sharp are .
used, thus : 68

-NEU
la
se
la
sol
* The author of this little book designedly omits mention of the intervals of
diminished and augmented thirds, and also of the diminished seventh, reckon-
ing from the tonic, as these intervals are never met with in this relationship.
The interval of an augmented third is never used. The interval of a
diminished third does sometimes occur, as in Spohr's “Blest are the departed,"
where the tenor has the following; but it will be seen that this is not a
diminished third reckoning from the tonic:-
sleep_ . ing.
8ve. lower.
4
sol lo fe sol sol.
As to the interval of a diminished seventh, it can only occur when the lower
of the two notes of which it consists is a major third, and the upper a minor
ninth, from the dominant of the key. If therefore we were to call Bha
diminished seventh to C, the note C would no longer be the tonic of C, but the
leading note of the key of Do minor.
8ve. lower. 76 bis
2
THE LANCASHIRE AND YORKSHIRE
Chromatic Scale with DD as the Tonic.
Fa "fe sol sé la fa fe sol se la le me
*
pਣੇ ਐ
fa me mo la lo sol so fa la lo sol so fa.
Chromatic Scale with B as the Tonic.
1111
#
o
Fa fe sol se la fa - fe sol se la le me
Hoe dhe
A ll
fa me mo la lo sol so fa la 'lo sol "so fa.
Every major scale has a relative minor scale,
This relative minor scale begins a minor third below the
first note of its relative major, and has the same signature (if
any). If the major scale has no signature, its relative minor
will have none. We will now give each major scale with its
relative minor scale under it; merely remarking, that although
in ascending the minor scale, the sixth note is raised a semitone,
it will be found in the practice of music generally in a minor
key, that as frequently as not the sixth is not so raised. This
will be the case principally in descending passages. It is not
within the scope of this work to give the scientific reason for this,
but rather to put the student in possession of the means whereby
he may learn to sing it as he finds it, that is, whether it be raised
a semitone or not.
A note which without an accidental sharp or natural would be
called fa, must, if a sharp or natural is placed before it, be called
fe; similarly, a sharp or natural placed before a note which would
otherwise be called sol, makes it se. Each note that is not raised
in pitch by a sharp or a natural, will be called by the same sol-fa
syllable as if it were in the relative major key.
C major.
_
Fa
sol
la
fa
sol
la
me
fa.
A minor.
o
La me fa sol la
la te se
fe se
ia bol fa
la sofa me la.
SYSTEM OF SOL-FA,
20
Exercise in A minor.
-
1
HILL
La
se
la
sol
fa
la
"fe
se
la
me
fa
sol
2
11
se
la fa la sol fa me la
(For Exercises in A minor, see page 33.)
. F major.
o
minor.
Fa
sol
la
fa
sol
la
me
fan
hatoooooo
fe
se
la sol fa
la
sol fa me la.
La me fa sol la
Exercise in D minor.
La "se la
me
fa sol
la
fe
se
la
solfa
me
la sol fa me la “se la fa
(For Exercises in D minor, see page 38.)
Bb major.
-6-
Fa
sol
la
fa
sol
la
me fa.
G minor.
looooo
fa la sol fa me la.
111
se
la
sol
La me fa sol la , fe
Exercise in G minor.
SV
1
e
La
me la
“se
la me
fa
sol la
fa
la
1
1
fe se la sol fa la sol fa me la "se
(For Exercises in G minor, see page 45.)
THE LANCASHIRE AND YORKSHIRE
Eb major.
an
ogen
Fa
sol
la
fa
sol
la
me
fa.
F
La me fa
otos
sol la fe
e bebe
la sol fa
se
la
sol fa me la.
Exercise in C minor.
se la
me
fa
sol
la
fe
se
la
sol fa
la
fe
se
fa sol la me fa me ſa se
(For Exercises in C minor, see page 50.)
Ab major.
IS
Fa sol la fa sol la me fa.
F minor.
oooooo pobozos
La me fa sol la fe se la sol fa la sol fa me la.
Exercise in F minor.
La me fa
sol
fa mela
se
la me fa sol la
1
la.
fa la sol fa me la se la me sol fa me
(For Exercises in F minor, see page 53.)
DO major.
Fa
sol
la
fa
sol
la
me
fa.
B minor.
La me fa
sol la
fe
se la
sol
fa la sol fa me la.
SYSTEM OF SOL-FA,
Exercise in Bb minor.
1
La
se la
sol
fa
la
sol
la
fa
la
sol
fa
1
la.
sol la fa sol la me fa me ia se la me
(For Exercises in Bb minor, see page 55.)
Gb major.
Fa
sol
la
fa
sol
la
me
fa.
Eh minor.
fe
se
la sol fa
la
sol fa me la.
La me fa sol la
Exercise in Eb minor.
La
me la
se
la me
fa
sol la
fa
la
me 'se
la.
. fe se la sol fa la sol fa
(For Exercises in Eb minor, see page 57.)
cb major.
Fa
.
sol
la
fa
sol
la
me
fa.
Ab minor.
rorogorooo
La me fa sol la fe se la sol fa la sol fa me la.
Exercise in Ab minor.
1
La
se la
me
fa
sol
la
fa la
sol fa me la
RITI
se
fe
se
la.
se la me fa sol fa mela
(For Exercises in Ab minor, see page 58.)
THE LANCASHIRE AND YORKSHIRE
We will now take the sharp keys, and their relative minors.
G major.
Fa
sol
la
fa
sol
la
me
fa.
E minor.
游
​La me
fa
sol la
fe
se
la
sol fa
la
sol fa me la.
Exercise in E minor.
SRE
E
Toll
:
La
se
la
me
me
fa
sol
la
fe
.
la
“se
se la sol fa la sol fa me
(For Exercises in E minor, see page 6o.)
D major.
7
9
0001||
-
Fa
sol
la
fa
sol
la
me
fa.
B minor.
1
1
1
3-
0
ooo to to totoo
La me fa sol la fe se la sol fa la sol fa me la.
Exercise in B minor.
La
me ia
se
la sol
fa
sol fa
la
fe
se
la.
la me fa mela se la me fa sol fa me
(For Exercises in B minor, see page 64.)
A major. .
-
Fa
sol
la
fa
sol
la
me fa.
SYSTEM OF SOL-FA.
F# minor.
La me fa
sol
la
fe
se
la
sol fa
la sol fa me la.
Exercise in F# minor.
La me la "Se la me fa
sol
la fa
la sol fa sol
SA
la.
la fe se la sol fa la sol fa me la se lame
(For Exercises in F# minor, see page 66.)
E major.
Fa sol la fa sol la me fa.
c# minor.
aap
La me fa sol la fe se la sol fa la sol fa me la.
Exercise in c# minor.

1
E
La
se la me fa me la sol fa la sol fa me la me
fa
sol la fa la fe
se la me fa
mela
se
fe se
la.
(For Exercises in C# minor, see page 68.)
B major.
o
-o
o
Fa
sol
la
fa
sol
la, me
fa.
minor.
T
oto to o too
!
Iooo
La me fa sol la
fe
se
la
sol fa
la sol fa me la.
26
.
THE LANCASHIRE AND YORKSHIRE
Exercise in G# minor.
La
me la
se
la
me
fa me la me fa
sol
la.
la fa la sol fa me la se la me fa me la se
(For Exercises in G# minor, see page 71.)
F# major.

1.
Fa
sol
la
fa
sol
la
me
fa.
الحمص #حماه
1
se la
sol
fa
la sol fa me la.
La me fa sol la fe
Exercise in D# minor.
La
se
la
me
fa
sol
la
fe
se
la
se la
#
SH
1
UTID
se
la.
sol fa la sol la fa la sol fa me la
(For Exercises in D# minor, see page 72.)
c# major.
*
11
Fa
sol
la
fa
sol
la
me
fa.
A minor.
Foot to
o
oo
se la
sol fa' la sol fa me la.
La me fa sol la fe
Exercise in A# minor.
La me fa me
la se
la me fa sol ' la fa la sol
#
*
I
T*
se
la.
fa me la me fa sol la sol fa me la
(For Exercises in A# minor, see page 74.)
TIME TABLE.
A semibreve . . . .
must sound as long as two minims.
Two minims . . . . . .
ſour crotchets.
Four crotchets .......
eight quavers.
sixteen semiquavers.
Eight quavers
. . . . .
thirty-two demisemiquavers.
Sixteen semiquavers ...
Thirty-two demisemiquavers le
A rest of the same duration as a semibreve is written under a line .
minim is written over a line. .
crotchet turns to the right . .
quaver turns to the left . . .
semiquaver is written thus .
, demisemiquaver is written thus .
- and is called a semibreve rest.
.. and is called a minim rest.
and is called a crotchet rest.
and is called a quaver rest.
and is called a semiquaver rest.
and is called a demisemiquaver rest.
SYSTEM OF SOL-FA.
A dotted semibreve . . . . . is equal to three minims . . . . . . ppp
A dotted minim
.
· · · · · P. is equal to three
o. is equal to three crotchets . . . . . .
A dotted crotchet ..
· p is equal to three quavers · ·.·.
A dotted quaver. ....l' is equal to three semiquavers. ....
A dotted semiquaver ...e
is equal to three demisemiquavers ....
THE LANCASHIRE AND YORKSHIRE
HOW TO BEAT THE TIME.
11
Down, up, down, up, down, up, down, up, down, up, :
1
1.
down, up, down, up,
down, up, down, up, down, up,
i
!
down, up, down, úp,, down, up, down, up, down, up.
No. 2.
1
2
3
4
1
2
3
4
1
2
3
1
1
Down, left, right, up, down, left, right, up, down, left, right, up,
1
1
1
1
.
down, left, right, up, down, left, right, up, down, left, right, up,
down, left, right, up, down, left, right up, down, left, right, up,
2.4 1
1
1
1
down, left, right, up, down, left, right, up, down, left, right, up,
1 2 3 4 1 2 3 4 1 2 3 4
down, left, right, up, down, left, right,up, down, left,right,up,down,left,right, up.
i
2
3
2
3
1
2
3
1
2
3
Down, left, up, down, left, up, down, left, up, down, left, up, down, left, up,
· 1 2
1 2 & 3
down, left, up, down,left,up,down, left, up, down left, up, down, left, up,
13
1
& 2
& 3 &
1
2
3
down, left, up, down, left, up, down, left, up, down, left, up, down, left, up.
SYSTEM OF SOL-FA:
No. 4.
1
2
3
1
2
3
1
11
Down, left, up, down, left, up, down, left, up, down, left, up, down, left, up,
3 1 3 1 2 3 1 2 3
down, left, up, down, left, up, down, left, up, down, left, up, down, left, up,
, 2 & 3
2 3 1 2 3 1 2 3
down, left, up, down, left, up, down, left, up, down, left, up, down, left, up.
No. 5.
en 1-2--3-11-2-3-4-

1-
2-
wn, left, up, down, left, up, down, left, up, down, left, up, down, left, up,
31
1
-
1
down, left, up, down, left, up, down, left, up, down, left, up, down, left, up,
1
down, left, up, down, left, up, down, left, up, down, left, up, down, left, up.
.
Accent on the ist and 4th quavers. *
No.6.,
3.4
5
Down, left, up, down, right, up, down, left, up, down, right, - up,
11
down, left, up, down, right, up, down, left, up, down, right, up,
.
down, left, up, down, right, up, down, left, up, down, right, up,
- 3 4
- 2 3 5
down, left, up, down, right, up; down, left, up, down, right, up.
* When a piece of music in time is to be sung quickly, it is right to make two beats to a
bar, one down and the other up.
30
THE LANCASHIRE AND YORKSHIRE
30.
THE LANCASHIRE AND YORKSHIRE
No.7.
HOW TO BEAT | TIME.
Down,
left,
up,
down,
left,"
up,
left,
down, left, up.
down,
No. 8.
up, down, left, up,
HOW TO BEAT 12 TIME.

Down, left, right, up,
down,
left,
right,
up,
down,
left,
right,
up,
down,
left,
right,
up.
EXERCISES IN C MAJOR.
No. 9.
sol la
sol
la
fa
la
fa
sol
fa
sol
la
la me
fa
me la
sol
fa
la
sol
sol
No. 10.
la
sol
fa.
No. II.
No. 12.
SYSTEM OF SOL-FA.
No. 13..
1
se
se
sol
fe
fa
sol
No. 14.
23
I
D
1
1
se
se
No. 15.
Se.
i
No. 16.
Diatonic ..
Chromatic.
1
la me
me mo
se
11
No. 18.
.
* 32
32
THE LANCASHIRE AND YORKSHIRE
No. 19.
-
11
1
1
1
se
sol
MTI1
fe
fa
1
11
.
1
.
1
1
1
lo
No. 24.
JA-
11
se
se
OS
SYSTEM OF SOL-FA.
No. 25.
No. 26.
EXERCISES IN A MINOR.
o
La
"se
la
me
fa
me la
"se
la
fa
la
sol
la
fe
se
la
me
fa
me
la.
No. 27.
La
me
se
No. 28.
Hte
La me fa
se
i
-
se
se
.
1
se
No. 30.
ed
1
#
1
1
Se
1102
se
se
34
THE LANCASHIRE AND YORKSHIRE
No 31.
-
1
se
se
e
se
No. 32.
#
se
se
11
1
1
5
1
No. 33.
se
*
se
se
.
se
se
KTI
se
se
1
#
se
11
11
SYSTEM OF SOL-FA. ,
No. 37.
se
se
11
1
1
fe
se
se
EXERCISES IN F MAJOR.
No. 38.
Fa
sol
la
fa
sol
la
sol
fa
sol
1
1
1
fa
sol
la
me
fa
sol
fa
la
sol
# = TE TE
No. 39.
No. 40.
)
No. 41.
11
1
1
1
1
1
11
36
THE LANCASHIRE AND YORKSHIRE
No. 43.
.
1
T
se
No. 44.
No. 45.
1
No. 46.
se
se
No. 47
se
No. 48.
SYSTEM OF SOL-FA.
37
:.
No. 49.
No. 50.
No. 51.
No. 52.
1
No. 53.
LLLL
se
lo
Diatonic
NH
E
-
me
me
No. så
THE LANCASHIRE AND YORKSHIRE.
No. 55.
No. 56.
+
No. 58.
BERADA
se
SA
EXERCISES IN D MINOR.
No. 59.
La me
fa sol
la
fa
la
sol
fa me
la mise
fa
sol
la
fe
se
la
me
fa me
la.
la me
No. 60.
80%ATS DE
se
*
se
se
SYSTEM OF SOL-FA.
39
No. 61.
Zooq
'fe
se
No. 62.
WIU
No. 63.
Zoe
se
No. 64
se
sol
i
-
No. 65.
1
1
1
"se
fe
se.
No. 66.
HE
se
THE LANCASHIRE AND YORKSHIRE
No. 67.
se
se
No. 68
se.
se
1
e.
No. 69.
11
se
se
solfe
fe
se.
No. 70.
7 Heta
se
No. 71.
se
#
se
No. 72.
lukan
se
se.
SYSTEM OF SOL-FA.
No. 73-
se
Il se.
No.74.
se
SA
No.95.
TIT
No.76.
A1
14N
se
EXERCISES IN Bb MAJOR.
No. 77
Fa
sol
la
fa
me fa sol me
fa
me la
fa
me la sol fa
la la
sol fa
la me fa
fa la
sol
fa.
No. 78.
fa
:
THE LANCASHIRE AND YORKSHIRE
No. 79.
No.
2
ve
sol
No. 81.
No. 82.
No. 83.
1
No. 84.
se
sol
SYSTEM OF SOE-FA.
No. 85.
No. 86.
1
No. 87.
se:
sol fe
No. 89.
UU
No. go.
• Toll
2N
THE LANCASHIRE AND YORKSHIRE
No: 91.
.
.
mo
se
se
solfe
se
No. 92.
Robo
1
-
No. 93.
1
se
1
1
1
1
se
se
sol
No. 94.
se
11
No. 95.
1
7
duro
No. 96.
1
.
SYSTEM OF SOL-PA.
45
SYSTEM OF SOL-FA.
No. 97.
EXERCISES IN G MINOR.
No: 98.
La
me
fa
la
sol
fa me
fa
me la
la
me
fa
sol
la
sol fa
me
No. 99.
11
se
gol
No: 100.
se
Se
se
se
No. 101.
JJ
se
se
se
THE LANCASHIRE AND YORKSHIRE
No. 102.
se
se
ise
No. 103.
SC
se
No. 104.
se
se
se
No. 105.
se
se
ge
No. 106.
se
SOT
SYSTEM OF SOL-FA.
No. 107
se
11
se
No 108.
SA
No. 109.
se
1
se.
se
No. IIO.
Ayo
TITI
.
se
No. IIC.
se
tha
THE LANCASHIRE AND YORKSHIRE.
No. 112.
se
se
EXERCISES IN ED MAJOR.
No. 313.
el
TTO
Fa
la
sol
la
fa
la
sol
fa
sol la
114
IL
la
me
fa
me la
sol
fa
sol
sol
No. 114.
No. 115.
No. 116.
4
1
1
Na. 117.
fe
fa
SYSTEM OF SOL-PA.
No. 118.
No. 119.
No. 120.
se
fe
se
se
Chromatic.
No. 121.
be
mo
mo
se
mo
se
fe
se
No. 122.
i
11947
.
se
lo
fe
SA
No. 123.
Ab
se
Diatonic.
-
U
50
THE LANCASHIRE AND YORKSHIRE
No. 124.
No. 125.
EXERCISES IN C MINOR...
La me
fa me
fa
sol
la
fa
la
fe
se
la
sol fa
No. 126.
la
sol
fa
sol
la sol
fa me la
No. 127.
1
1
se
fe
.
fe
se
No. 129.
1
an
ſe
se
SYSTEM OF SOL-FA.
No. 130.
1
wat
L
No. 131.
:se
se
se
EXERCISES IN AD MAJOR.
No. 132.
Fa
sol la
fa
sol
la
fa sol fa
la
sol fa me
fa
la
sol
la me
fa
la
sol
fa
sol
fa.
No. 133.
1
No. 134.
No. 135.
11
52 :
THE LANCASHIRE AND YORKSHIRE
No. 136.
bb
solfe
se
No. 137
No. 138.
TOLL
.la
te
fa
se
sol
No. 139.
se
fa
No. 140.
No. 141.
SYSTEM OF SOL-FA.
No. 142.
1
No. 143.
EXERCISES IN F MINOR.
No. 144.
La
me
fa
sol
fa
11
se
la
sol
fa
la
sol fa
me
la
se
l a.
No. 145.
No. 146.
se
No. 147
sol
No. 148.
se
hise
THE LANCASHIRE AND YORKSHIRE
No. 149.
1
1
se
EXERCISES IN Db MAJOR
No. 150.
Fa
sol la
fa
sol
la
me fa
sol
fa me
fa
No. 151.
mela' soľ
fa
la
sol
la
sol
No. 152.
No. 153.
1170
TO
fa
No. 154.
se
fe
fa
1
"fie
se
se
fe
se
se
10
sol
.
SYSTEM OF SOL-FA.
• Diatonic.
SYSTEM OF SOLFA
55
No. 155.
se
EXERCISES IN Bb MINOR.
No. 156.
La
se la
me fa me
la
sela
me
fa
-US
1
fa me
la
sol fa
la
sol fa me
sol
No. 157.
se
se
1
1
se
se
No. 158.
se
se
No. 159.
1
se
11
No. 160.
se
se
se
56
THE LANCASHIRE AND YORKSHIRE
THE LANCASHIRE AND YORKSHIRE
EXERCISES IN Gb MAJOR.
No. 161.
Fa
sol
la
fa
sol
la
fa
sol
la
fa sol la
sol fa
la
sol fa me fa sol
la
fa sol fa
la sol fa
me fa.
No. 162.
No. 163.
-
No. 164.
+
No. 165.
1
se
se
No. 166.
se
SO
se
se
sol
SYSTEM OF SOL-FA.
EXERCISES IN EL MINOR.
No. 167.
La
me
fa
sol
la
fe se
la
sol
'fa
la
sol
fa me la 'se
la me fa sol la fa la sol fa me la 'se la.
No. 168.
1
se
No. 169.
UNDO
L101
se
EXERCISES IN CE MAJOR.
No. 170.
Fa sol la sol la fa
sol la me fa sol la sol fa me la
sol fa la fa la sol la
fa
sol fa
la
sol
fa.
sol la
No. 171.
No. 172.
JAY
1.
fe
fa
AT
se
se
THE LANCASHIRE AND YORKSHIRE
No. 173.
se
lo
fe
--
se
EXERCISES IN AD MINOR.
No. 174.
La fa me la
se la me fa
sol fa la sol
fa me la se
la
me
fa
sol
la
sol
fa
me'
la
me se
la.
No. 175.
thho
2
11
.
se
Se
EXERCISES IN G MAJOR.
No. 177.
Fa
me fa
sol la fa sol fa
la sol
la fa sol
la
sol fa
la fa sol fa la sol fa me
la sol la me fa sol la
sol
fa.
SYSTEM OF SOL-FA.
No. 178.
.
Fa , la
Sol
sol
fa
la
No. 179.
No. 180.
1
se
No. 181.
No. 182.
TE
pe
se
.
se
sol
fe
fa
se
No. 183.
1
THE LANCASHIRE AND YORKSHIRE
No. 184.
11
ID
1
Sol
fe
sol
me
*
11
se
se
la
lo
Po po
*
1
EE
se
11
se
lo
sol
No. 186.
11
No
EX
11
EXERCISES IN E MINOR
No. 188.
La me
fa
sol
la
sol
fa me la "se
la me fa sol
la
fa
la
fe
se
la
sol
fa
la
sol fa me
la "se
la.
SYSTEM OF SOL-FA.
No. 189.
the
es el
se
No. 190.
#
Fe
se
EA
se
No. 191.
1
170
192.
1
11
#
11 11
193.
DI
mit
.
fe
se
No. 194.
se
se
THE LANCASHIRE AND YORKSHIRE
No. 195.
11
se
196.
1
1
1
1
fe
se
+
11
se
se
No. 198.
EXERCISES IN D MAJOR.
1
Fa me la sol la me fa
sol fa
me la sol
fa
la sol
1
1
1
sol la
fa
sol la sol
fa la
fa
la sol fa
me
fa.
fa
No. 199.
.
Fa
sol la
fa
sol
la
sol
la me fa'
me la
i
fa
sol
fa
me
la
sol
fa
la
sol
fa.
me
No. 200.
1
11
SYSTEM OF SOL-FA.
63
63
No. 201.
No. 202.
TEH
IT
1
No. 203.
No. 204.
leta
No.
-
No. 206.
64
THE LANCASHIRE AND YORKSHIRE
No. 207.
M
f
EXERCISES IN B MINOR.
No. 208.
.
La
se
fa
me
la
se
la
la
fa
sol
1
la
No. 209.
fa me la
fa
la
fe se
la me fa me la se · la.
OWLLL
La
la
la
se
la
sol
fa
sol
la
la
fa
sol la
I
ll
fa me fa me la
se
la
fa sol la
la fa me la me se la.
T
210.
O
se
No. 2II.
se
se
fe
se
No. 212. Se
se
se
se
SYSTEM OF SOL-FA.
.
65
No. 213.
1
se
se
-
#W
*
se
se
EXERCISES IN A MAJOR.
No. 214.
Fa sol la fa
sol la
fa sol
la fa
sol la
fa fa
la sol
me sol
fa la
sol la
fa sol
la fa
sol me fa
fa la
No. 215. .
I
Fa la se
fe
se
1
1
1
-
No. 217.
No. 218.
THE LANCASHIRE AND YORKSHIRE
No. 219.
piin
220.
No. 22
#
-
EXERCISES IN F# MINOR.
No. 222.
La "se la me fa sol fa sol la
fa
la
sol få me
#
la
"se la
me
la
se
l a
me fa
sol
la fa
1
me fa me la.
la sol fa sol la fa la sol fa me la se la
No. 223.
10
11
se
SYSTEM OF SOL-FA.
I No.224.
2
|||
#a
se
1
--
--
se
şe
No.225.
「
1
TTO
fe
se
sol fa
#
||
花
​se
|No.226.
|
#1||
北
​乎
​*
"se la sol" fe
并一
​||
用
​辛
​sol
No.227.
EXERCISES IN E MAJOR.
||
||
非
​#二二
​#||
sol la
sol
la
fa
la
fa
sol
fa
sol
#
许
​一
​五一
​me la sol
fa la
fa
la sol
fa.
sol' la me fa
No.228.
-
北
​井一​|
在一
​#
比
​No.229.
se
se
許
​#111
第​||
se
.
.
THE LANCASHIRE AND YORKSHIRE
I No.230.
1
t-
=一一一
​--
-
##
并
​1
#
| No. 31.

分步计步一
​以一
​11
二手
​==
|IPE
lo
fe
se
No.232.
洋一
​TRIL
TO
1
| No. 233.
五
​| No.234
计
​#
me
|
并一
​一
​第
​se
EXERCISES IN C# MINOR.
No.235.
(
#|||
*
林​!
非
​STIN
se
me
fa
me
se
HE
計
​非一
​比
​la
sol fa
la
sol
fa
me
la
"se
la.
SYSTEM OF SOL-FA.
69
No. 236.
11
SY
se
se

i
No. 237
.
fe
se
se
#
ht
I
fa
la
la
No. 238.
#
#
#
se
LIES
.
9.
se
*
fe
se
se
No. 240
2
11
se
Se
No. 241.
EXERCISES IN B MAJOR.
*
Fa
sol la
sol
la fa
la
sol fa
sol
fa me
*
!!
-
1
la
sol la
sol
fa
la
sol
la
sol
fa.
70
THE LANCASHIRE AND YORKSHIRE
No. 242.
1
.
SER
No. 243.
.
11
11
1
#
No. 244.
. 244.
E
A
-
.
No. 245.
i
1
se la
sol fe
#
No. 246.
1
1
fe
- No. 247
EXERCISES I
MINOR.
#
1
La se la me fa me fa sol la fa
la sol fa 'me la
E
#
11
se
la me
fa
sol
la
fa
la sol
fa me
la.
SYSTEM OF SOL-FA.
71
| No.248.
#一
​se
se
比一
​se
se
| No. 249.
ZAW)
se
曲​」
集
​El
se
No.250.
se
se
#
第一
​}
#一
​1
X
se
| No. 251.
21
辛
​se
sol
#
北一
​十一
​#
se
se
EXERCISES IN F# MAJOR.
No.252.
年一
​一比
​羊
​Fa sol la
fa
la
fa
sol fa la
sol
la
fa
sol
体
​非一
​la me fa me la sol fa
sol la
sol fa la
sol la sol
fa.
THE LANCASHIRE AND YORKSHIRE
' No: 253.
se
fe
se
.
fe
No. 254.
#
se
*
se
se
sol fe
No. 255.
Oil
fe
e
fe
se
se
#
#
-
*
fe
se
EXERCISES IN D MINOR.
• +
1
#
La se
la me fa sol fa sol la fe
se la
sol fa
+
11
.:
-
-
la sol
fa me la me fa sol la sol
fa
me
No. 257.
1
1
1
se
=
+
it
se
SYSTEM OF SOL-FA.
No.258.
E生
​并一
​止​」
第一
​五​」
#
80
第一
​}
se
sol
se
心
​的学
​*一一
​se
se
No.260.
| EXERCISES IN C# MAJOR.
sol la
fa
sol la
sol
la me fa me la
一步
​并
​十一
​-
*
sol.
isol la
sol fa
la
sol
fa.
I No.26T.
ma|
非一
​se
I No. 262.
#T#
*1
出一二
​#
11K
非一
​se
se
se
-
杂一
​五一
​#
#
No. 263..
|
一
​*
「
*
弟一
​**
年
​lo
se
74
THE LANCASHIRE AND YORKSHIRE
EXERCISES IN A# MINOR.
No. 264.
11
La se
la me fa sol fa me la
se
la
sol
fa
la
LICI
Test
11
sol fa me fa
sol la
fe se
la me
fa'
me'
la.
No. 265.
Y
*
se
se
sol
se fe se
SYSTEM OF SOL-FA.
75
. In solfaing the following exercise in modulation the pupils must
remember that when the next note above la is a semitone above
it, it must be called fa, and when a whole tone me.
The tonic will be expressed by capital letters, and the subdomi-
nant by italics. An asterisk will show in each case by what
means the change of key is effected.
C major.

-
11
Fa sol la fa' la
fa
sol la me sol Fa sol la fa.
F major.
*
T
.
Fa la sol Fa me la sol fa
Fa Sol

E
sol
fa
la
fa sol la
By major.
la sol
.
Fa sol la fa la
Eb major.
1
Fa sol la
fa
sol la sol fa
la
fa sol Fa la
sol Fa

T70118
fa sol Fa sol la
Ab major.
fa
sol fa
la
sol
me la me sol Fa' sol la fa
la sol Fa la
me sol sol fa

Do
sol la
sol la fa
la
sol la
fa la
Db major.
fa sol Fa
Gb major.
-*
fa
cb major.
TDI
la
fa sol Fa sol la
fa
la
fa sol la
sol la
fa
sol

sol
Fa me Fa
Fa fa la sol la me
Gö major. Dh major.
DO
Fa me la sol fa' sol la fa
la sol la me Fa
fa
THE LANCASHIRE AND YORKSHIRE

Leho
*HT
pa
fa la sol la me Fa
Ab major. Eb major.
fa la sol la me
Bb major. Finajor.
.
'sol la me Fa
fa
la sol la me Fa
*

]
Fa
fa la
major.
sol Fa me la sol fa
la 'me Fa fa
G major. D major.
la sol la me ça
me la
sol fa la sol
Fa fa la "me

me
me Fa fa "la me Fa fa la me Fa fa la
A major. Emajor. B major. F#major.C#major. G#major.
C#major.
Fa fa "la me Fa fa la me Fa fa la me Fa sol la fa

sol la
sol
la
fa la fa
F# major.
me Fa "sol "la
B major.
fa
E majør.
21
la
la fa
sol Fa sol me
fa
"la la
fa
sol

i
me Fa sol "la fa "la
A major. D major.
fa
sol la
fa sol fa
G major.
1
I
1
"la fa
"la
fa sol Fa sol la fa
sol Fa me sol
-
-
-
Fa me Fa.
me Fa sol la fa la me Fa
C major. F major. C major.
_*
Fa sol la fa
la
me Fa fa la Fa
sol
SYSTEM OF SOL-FA.
At bar 4 of the following exercise the note E is at one time
called la, and at another time me ; because, by the action of the
iiwer part, the key has been changed. The Bb which is intro-
duced being the fourth note of the key of F, the note E which was
the third note of the original key is become the seventh of the
new key. This hint will enable the student to analyze the
remainder.
C Major.

на
sol
la
fa
sol
la me Fa sol
la
la
F major.
fa
sol la 'fa sol la me
Fa sol
la
fa

to
sol
la
la
sol
la
fa
fa la
Bb major.
me Fa
Eb major.
Ab major.
la
me
Fa
sol
la
fa -
la
la me

bo
sol
la
la me Fa
Db major.
fa la
Gby major.
la me
ср
Fa
sol
la
fa
la
la
me
Fa
sol
la
fa

KIT
sol
la fa la
Fb major.
cb major.
Db
major.
-*
INTOS
la
me Fa
:
f
me
Fa
*

la
Ab major.
me Fa fa la
Ely major. · Bb major.
me Fa
F major.
fa
C major.
lame Fafeclame Fa fa
la
me
THE LANCASHIRE AND YORKSHIRE SYSTEM OF SOL-FA.

*
OLU
Fa
Me
G major.
fa la
C major.
me Fa
F major.
fa la
BD major. , 'Eb major.
DO-Ed
fa
la
me
Fa
fa
la
me fa
fa

Fa
fa la
Ab major.
me Fa
Ebmajor.
fa la
Fa
BD major. , F major. C
major.
ITTO
me
Fa
me
Fa
fa
me
0111*

"la
me
Fa fa
G major. . D major.
-
Fa
A major.
fa
E major.
S
a od to
Fa fa la “me Fa
fa
"la
me
*TTO

me
B major.
Fa
„sol fa
la
sol fa
me la me
F# major.
B major.
TUTO
fa
"la
me
Fa
sol la
fa
fa
*
Li *

fa "la
major.
me. Få
A major.
fa "la
D major.
me Fa "fa
G major. C major.
la
me
fa
fa
"la
me
Fa
fa
la
me

EGG
se
se
la
Fa Fa me
Fa.
sol fa
C major.
A minor.
Fa Fa
me la sol
Fa me
Fa
la
sol sol
Fa.
R SH
Novello, Ewer & Co.'s Music Primers
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CONTENTS.
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Sound · · ·
CHAPTER 1.
Pitch and Length of Sounds .
CHAPTER II.
Time or Duration - - ..
CHAPTER III.
Accent . - - - - -
CHAPTER IV.
Time Signatures - - -
CHAPTER V.
Syncopation, Ties, Binds, Slurs .
CHAPTER VI.
Intervals - - - - -
CHAPTER VII.
Scales . . .
CHAPTER VIII.
Signs, Abbreviations, &c. -
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29
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31
-'.
34
39
Index
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57
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OF
A DICTIONARY
MUSICAL TERMS
EDITED BY
J. STAINER, M.A., Mus. Doc.,
MAGD. COLL., OXFORD,
AND
W. A. BARRETT, MUS. BAC.,
S. MARY HALL, OXFORD.
The following Gentlemen have contributed to this Work :-
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.
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